INTERVIEW: Doug Powell
- Bob Gajarsky
Doug Powell is one of the rising stars in the "pure pop" - as opposed to the Billboard Pop 100 - area of music. His latest release on Mercury Records, Ballad of the Tin Men, has produced two tracks which have already received radio airplay: "Return to Sender" and the current single, "Unmutual". That pure pop sound which emanates from his instruments is a pleasant contrast to the grunge which is seemingly everywhere.
Consumable Online was able to catch up with Doug and ask him a few questions about the thought process involved with his songwriting.
Consumable: You recently performed acoustically at a concert in New York City (with Jules Shear, Richard Barone and Marti Jones). What are your favorite parts of playing without an "electrified" sound?
Doug: My favorite part is getting through it without breaking out in hives. I play solo so rarely that it still can be quite terrifying for me. At the same time, it is the most satisfying knowing there are no crutches, no other musicians to distract visually or musically. It comes down to the song and my rendering alone. As a power-monger this appeals to me - to have all the responsibility and not rely on anybody else.
C: What makes a perfect song? What is one song which in your eyes reflects the "perfect" song and is a personal favorite?
D: The characteristics of the perfect song very with every set of ears. I'm afraid my definitions of the perfect song are somewhat nebulus. I can, however, point to a few of my favorites. My number one all time song is "Love Is The Answer" by Todd Rundgren. The original version is on Utopia's Oops! Wrong Planet. It's all there. The melancholic melody housing an equally melancholic lyric about the meaning of life. It's one of those songs that makes me want to go back to my computer job because I know I'll never attain the greatness of this song. "Both Sides Now" by Joni Mitchell is also a killer for me. The last favorite for me is the Beatles' "A Day In The Life" - a timeless melody. Now if I only knew what it was about.
C: Much of the writing and music on Ballad of the Tin Men is of an "intellectual pop" style - songs that can be heard time and time again, yet still sound fresh. What were the greatest influences on your sound?
D: Todd Rundgren has been the object of my strongest musical fixations. His continual reinvention is fascinating to me; his musical evolution never ceases to incorporate new (to him) styles into his Philly Soul and blues foundation, thus creating something strikingly original. His is the music of a music lover, one who refuses the mediocrity that is more and more becoming the standard. (There should be) Lessons for everyone!
Much the same can also said for Ray Davies. He's always finding some new way to write songs you thought you've heard before and can't forget after hearing them. Jules Shear didn't show up til the very tail end of high school for me. Watchdog had just come out and I bought it because of it's producer (Todd). As soon as the needle dropped, I knew I was on to something special. No one I know has failed to be entranced by the incredible economy of the chord prgression of the opening song, "Whispering Your Name". An absolute classic. This record really got me into trying to understand just how songs work, how they are constructed. The rest of his catalog does nothing to dispell the infallibility I held him after falling in love with that album. Even more, (because of the professional contact), I am priviledged to have scores of demos and unreleased songs that are often the most magical of his work. The suppression of his work really angers me.
Elvis Costello is another one. I was only a minor Elvis fan when I saw the Punch The Clock tour but the experience was epiphanal. That was when I knew it wasn't a guitarist, or bassist or drummer that I wanted to be, but a songwriter. The songs came unstoppably after that concert. They were no longer things I had to conjure up but instead, things I had to let out. I had no choice. The unspoken influence is, of course, the Beatles. In light of all the things said about them, let me just say "Ditto."
C: Are you a music lover?
D: Definitely.
C: As a "power-hungry" person, how long does it take before you are happy with the song?
D: It depends on the song. It seems the fastest ones are the ones that stand the test of time.
C: The songs on Ballad often speak from the soul, from what could be personal experiences. Do you draw your songwriting inspirations from your own life experiences, those around you, or both?
D: I write awful fiction. Therefore, I only write about me or my interpretations of others. When I do write fiction the characters very quickly become caricatures and most often turns the song into a novelty song. This is not in and of itself bad, but can run thin pretty quick so I don't do it too much. I do not speak very clearly about the things that are most important to me - therefore, I have songs. They are my therapy, my disseratations, my essays and my ramblings. They are very autobiographical as a result. Living in Nashville, which is a very songwriter-oriented town, this is commercial suicide. I've had a number of people recommend books on songwriting to set me straight so I can get a few cuts. Yeehaw.
C: How do you write your songs - in other words, is it lyrics then music, music then lyrics, or at the same time?
D: Always music first. Often I'll have an idea and/or title and let that gestate until it represents itself musically. Then just fill in the blanks, stir vigorously, and BOOM theres your song!
C: You played piano and guitar at the "Writers in the Round" show. What is your favorite instrument to play, and why?
D: Piano. It holds more secrets to me than guitar because it is less familiar. I grew up on guitar and naturally hear in guitar-voicings. This makes the piano more interesting. Although, at that gig Carole King was in the audience which made playing the piano a little nerve-racking for me.
